Downloads & Free Reading Options - Results

127 p. : 31 cm

Bibliography: p. 91-93

Rechtsphilosophie by Max Ernst Mayer

Customized version of http://www.thingiverse.com/thing:74322 Created with Customizer! http://www.thingiverse.com/apps/customizer/run?thing_id=74322

446 S. 22 cm

Zoomable full resolution image available at davidrumsey.com . This image 14256.145 is a part of image group 14256.000 . Descriptive text for four maps and eight diagrams of Switzerland, numbered 37 within Atlas der Schweiz, in German, French and Italian. On first page - front cover - of thirty-seventh (numbered) folio. Maps and diagrams follow text on second, third and fourth pages of folio. Title translates to: [Rural architecture]. Text begins: Alle Zeichnungen haben den gleichenMassstab (ca. 1 : 250); sie sind also direkt miteinander vergleichbar ... [= All drawings are on the same scale (approx. 1: 250); they are therefore directly comparable with one another ... ]. Text continues on back cover of folio with Italian translation of German and French on front cover. Includes scale statements for differing scales. "37" in upper right corner. (Date taken from following page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

German language - no subtitles

German language - no subtitles

Bibliography: p. 15

Max ERNST, Der grüne Hof in Ulm, in: Ulm und Oberschwaben 28, 1932, S. 71-90

Max ERNST, Der grüne Hof in Ulm, in: Ulm und Oberschwaben 28, 1932, S. 71-90

artikel van Ben Vollers over het thema 'Woud' in het werk van Max Ernst - surrealist

Ernst Zundel interviewed by Jewish former radio talk show host Max Lipson, who was fired for hosting Zundel on his show twice. This was the first test run for a possible future show. Ernst Zundel Archive Ernst Zundel with Max Lipson - pilot interview (1994) https://worldtruthvideos.website/watch/ernst-zundel-with-max-lipson-pilot-interview-1994_fQOBkiSyFgsPCt5.html

Ernst Zundel with Canadian Jewish media personality Max Lipson.

Leipzig : Berlin : Moeser, [1910]

Film aus dem deutschen dritten Reich von 1941. Blutsbrüderschaft.  U.a mit Hans Söhnker und Ernst von Klipstein 

Film aus dem deutschen dritten Reich von 1942. Unser kleiner Junge.  U.a mit Hermann Speelmanns und Ernst von Klipstein 

Film aus dem deutschen dritten Reich von 1944. Glück unterwegs  u.a mit Paul Kemp und Hilde von Stolz 

Ernst Zundel interviews a well-known Canadian Jewish media personality.

Pedro Meier – Traumwelt – Loplop präsentiert die Braut des Windes – Paraphrase zu Max Ernst – Filigran – Serendipity-Zyklus – Surrealismus – Lyrische Abstraktion – Verfremdung – Mixed Media – Artwork by Pedro Meier Artist & Writer * Pedro Meier Multimedia Artist und Schriftsteller – am Jurasüdfuss und Anderswo – MyOberaargau – Kunstschamane, Soziale Plastik, Kunstnomade – Der Hang zum Gesamtkunstwerk – Lexikon AdS Autorinnen und Autoren der Schweiz – Visarte Schweiz – PEN Zentrum – Künstlerlexikon SIKART Zürich – DADA FLUXUS – Ateliers: Niederbipp am Jurasüdfuss Oberaargau – Kunsthalle Olten Offspace – Studio & Atelier in Bangkok BACC Thailand – Dschungelatelier am Golf von Siam – MyOberaargau – Pedro Meier Lyrik Gedichte Parallelwelten AMRAIN BOOKS * Werke (Bilder) von Pedro Meier in Kunstsammlungen: Kunsthaus Grenchen, Kunstmuseum Olten, UBS Art Collection, Kunstsammlung Julius Bär Art Collection , Schaulager Hanspeter Rentsch Grenchen, Kunstsammlung Heiner Hoerni Kunsthaus Zofingen, Kunstsammlung Kuratorium Kanton Solothurn – Bangkok Bank Thailand * Pedro Meier – Storylines-Themen – The Road – The Outsider – The Art Nomad – Gesamtkunstwerk – Pedro Meier Thai Artist Thailand *           siehe: Harald Szeemann – Der Hang zum Gesamtkunstwerk – When Attitudes become Form * Walter Benjamin – Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit                                                           *** Pedro Meier – Wikimedia : https://commons.wikimedia.org/wiki/Category:Pedro_Meier * Pedro Meier ist Mitglied: DeutschSchweizer PEN Zentrum – Pedro Meier Member: Swiss German PEN Centre – ( PEN International – PEN Berlin – PEN Club ) * Pedro Meier – Amazon : https://www.amazon.de/-/en/Pedro-Meier/e/B09L56MPZ6?ref_=dbs_p_pbk_r00_abau_000000 * https://www.pedro-meier-artist.ch/ * Pedro Meier Künstler – Kleio: ich https://pedro-meier.kleio.com/ * Work in Progress – @pedro.meier – @pedro.meier.schriftsteller – @Kunsthalle_Olten – Pedro Meier in: Autorenlexikon AdS , Künstlerlexikon SIKART Zürich – Visarte Schweiz – Autor AMRAIN BOOKS Verlag für Literatur und Kunst – Berner Schriftstellerverein BSV. * Vita: – Pedro Meier (*1941) ist Schriftsteller, Lyriker, Autor und multimedial arbeitender Künstler. Aufgewachsen in Niederbipp BE im Oberaargau am Jurasüdfuss. Er besuchte anschliessend Schulen in Bern und Neuchâtel. Er ist der Sohn von Schriftsteller Gerhard Meier – (» Land der Winde « – Bibliothek Suhrkamp). Pedro Meier absolvierte eine Buchhändlerlehre in der Buchhandlung Lüthy Solothurn, später war er Gründer und Besitzer eines Buchantiquariats in Zürich. Seit über 40 Jahren pendelt Pedro Meier zwischen Europa und Asien, seinem Dschungel-Atelier am Golf von Siam in Thailand. Orient und Okzident, Morgenland und Abendland, fernöstliche Kulturen, Spiritualität, Zen-Buddhismus, ein Pendler zwischen Kulturen und Zeiten; zeitlebens auf der Suche nach dem utopischen Gesamtkunstwerk. * Pedro Meier Bücher : Pedro Meier – » Parallelwelten – Wasteland Factory – Oder Der Garten der Lüste « – Gedichte und Mauerspuren – AMRAIN BOOKS Literatur Verlag * Pedro Meier – » Das Gewicht des Schattens im Sonnenschein « – Gedichte und Polaroid-Fotos – Streifzüge durch Berlin – Verlag Königshaus & Neumann, Würzburg * Pedro Meier – Museums-Ausstellungen – Kunstmuseum Olten – »Aschenbilder – Zeichnungen – Randmarken« – 1994             (Solo-Ausstellung) – Kunsthaus Grenchen – «Bilder der letzten 15 Jahre» – 1995 (Solo-Ausstellung) – Kunsthaus Zofingen – »Zwischenwelten« – 1997 – (Solo-Ausstellung) – Kunsthaus Grenchen – »Diese Kunst sammelt Grenchen« – 1998 – Kunsthaus Grenchen – »Forty examples« – 2012 – Kunstmuseum Solothurn – »Das dunkle Fest des    Lebens« – 1995             (In Zusammenhang mit Buchpräsentationen – Gerhard Meier –             »Das dunkle Fest des Lebens – Amrainer Gespräche«, Werner Morlang – Kunsthaus Langenthal – »Kunst im Oberaargau« – Jahresausstellungen 1993/1995/1998 – Aargauer Kunsthaus – Kunstmuseum –   »Aargauer-Künstler – Jahresausstellung« – 1996 * 2001 – grosser Atelierbrand – Das Feuer zerstört das gesamte bisherige bildnerisches Werk von Pedro Meier. Über 1000 Öl- und Acrylbilder, ca. 10'000 Fotos, Text und Manuskriptseiten, Notizbücher, Zeichenbücher, Künstlerbücher, Artist Books , die gesamte Bibliothek von 12'000 Büchern, Skulpturen und Installationen etc wurden vernichtet und sind für immer verloren. * » Pedro Meier Urgestein der Beat-Generation , als letzter Mohikaner, Schamane, als Buschpilot in Alaska oder Australien, als Schriftsteller, als Multimedia Artist oder als Performance-Künstler. Ob in Kyoto, Mexico, New York oder Berlin, ob in Niederbipp alias Amrain oder in seinem Dschungelatelier am Golf von Siam: Pedro Meier ist ein unermüdlich nach dem Gesamtkunstwerk Forschender... «. Zitat aus Interview: – D. T. Koller – Vitaltransformer Zürich * Pedro Meier Zitat aus Interview 2022 : – »eXperimenta«, Magazin für Literatur, Kunst und Gesellschaft –   »Als Kind war ich ein großer Tagträumer. In meiner Hofstatt steht ein uralter Kirschbaum. Als Knabe bin ich da hinaufgestiegen. Ich bin tagelang in der Kirschbaumkrone gesessen und habe dem Wind, den zwirbelnden Blättern zugeschaut. Ich habe am Himmel die treibenden Wolken verfolgt, mir vorgestellt, mit diesen Wolken, über ferner Länder, Meere und Kontinente zu treiben. Ich lebte quasi in den Bäumen. Ein Tagträumer bin ich bis heute geblieben. – Vielleicht sind die Träume der Ursprung der Kunst.« Aus Baumzweigen verfertigte ich meine ersten Skulpturen. Quasi abstrakte Hunde, Pferde, Schwalben, Flugzeuge. An dem kleinen Flüsschen, das unseren Garten durchquert, baute ich mir Flosse und kleine Segelschiffe. Mit diesen Spielzeugsegelschiffen bereiste ich die Flüsse und Meere. Ich baute auch Leuchttürme, Hafenanlagen und Eisenbahnlinien. Ich erschuf mir meine eigene Welt.   Ich war Indianer, der letzte Mohikaner und Trapper, Grosswildjäger in Afrika und Flugpionier auf Atlantikflug zugleich. Und im Winter, wenn Schnee in der Hofstatt, lag durchquerte ich zu Fuss Grönland und die Antarktis. Im Sommer verirrte ich mich in die Wüste Gobi oder in die Sahara. Fantasie und Spiel. Ich malte mir Landkarten, Seekarten und Himmelskarten mit all den Sternbildern darin. Das waren also meine ersten Skulpturen und Bilder – so kam ich zur sogenannten Kunst.   Auch erzählte ich mir neue, selbst erfundene Märchen und Geschichten. Ich erfand Alibaba und die 40 Räuber neu – ebenso Tausendundeine Nacht. Ich versetzte mich mit meinen eigenen Geschichten in Angst und Schrecken. Schlaflose Nächte. – Das waren meine ersten Texte – so kam ich zur Literatur, so kam ich zum Schreiben.   Pedro Meier, Multimedia Artist und Schriftsteller. – Ich male Bilder, konstruiere und baue Skulpturen. Rauch- und Klang-Installationen. Licht- und Sprach-Performance. Ich bin ein leidenschaftlicher Fotograf. Ich lese und schreibe Bücher – ich bin Horizontsüchtig und professioneller Tagträumer. Ich liebe den Film und die Musik etc. Ich bin gelernter Buchhändler und besass ein Buchantiquariat in Zürich. 1969 fuhr ich mit der Transsibirischen Eisenbahn nach Japan. In Bangkok blieb ich hängen und betrieb für einige Jahre ein Restaurant mit Namen »Swiss-Inn«. Ich war Verleger und Buschpilot in Alaska und Australien. – Ich bin passionierter Kunst-Nomade und lebe sozusagen zwischen den Welten.   – Übrigens: – Eigentlich hätte ich nie aus den Kirschbaumkronen heruntersteigen sollen, hätte dort oben in den Bäumen bleiben sollen, auf immer und ewig. – * Zitat aus Pedro Meier Interview : https://www.pedro-meier-artist.ch/schriftsteller/pedro-meier-experimenta-de-künstler-des-monats/ ***

Pedro Meier – Traumwelt – Loplop präsentiert die Braut des Windes – Paraphrase zu Max Ernst – Filigran – Serendipity-Zyklus – Surrealismus – Lyrische Abstraktion – Verfremdung – Mixed Media – Artwork by Pedro Meier Artist & Writer * Pedro Meier Multimedia Artist und Schriftsteller – am Jurasüdfuss und Anderswo – MyOberaargau – Kunstschamane, Soziale Plastik, Kunstnomade – Der Hang zum Gesamtkunstwerk – Lexikon AdS Autorinnen und Autoren der Schweiz – Visarte Schweiz – PEN Zentrum – Künstlerlexikon SIKART Zürich – DADA FLUXUS – Ateliers: Niederbipp am Jurasüdfuss Oberaargau – Kunsthalle Olten Offspace – Studio & Atelier in Bangkok BACC Thailand – Dschungelatelier am Golf von Siam – MyOberaargau – Pedro Meier Lyrik Gedichte Parallelwelten AMRAIN BOOKS * Werke (Bilder) von Pedro Meier in Kunstsammlungen: Kunsthaus Grenchen, Kunstmuseum Olten, UBS Art Collection, Kunstsammlung Julius Bär Art Collection , Schaulager Hanspeter Rentsch Grenchen, Kunstsammlung Heiner Hoerni Kunsthaus Zofingen, Kunstsammlung Kuratorium Kanton Solothurn – Bangkok Bank Thailand * Pedro Meier – Storylines-Themen – The Road – The Outsider – The Art Nomad – Gesamtkunstwerk – Pedro Meier Thai Artist Thailand *           siehe: Harald Szeemann – Der Hang zum Gesamtkunstwerk – When Attitudes become Form * Walter Benjamin – Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit                                                           *** Pedro Meier – Wikimedia : https://commons.wikimedia.org/wiki/Category:Pedro_Meier * Pedro Meier ist Mitglied: DeutschSchweizer PEN Zentrum – Pedro Meier Member: Swiss German PEN Centre – ( PEN International – PEN Berlin – PEN Club ) * Pedro Meier – Amazon : https://www.amazon.de/-/en/Pedro-Meier/e/B09L56MPZ6?ref_=dbs_p_pbk_r00_abau_000000 * https://www.pedro-meier-artist.ch/ * Pedro Meier Künstler – Kleio: ich https://pedro-meier.kleio.com/ * Work in Progress – @pedro.meier – @pedro.meier.schriftsteller – @Kunsthalle_Olten – Pedro Meier in: Autorenlexikon AdS , Künstlerlexikon SIKART Zürich – Visarte Schweiz – Autor AMRAIN BOOKS Verlag für Literatur und Kunst – Berner Schriftstellerverein BSV. * Vita: – Pedro Meier (*1941) ist Schriftsteller, Lyriker, Autor und multimedial arbeitender Künstler. Aufgewachsen in Niederbipp BE im Oberaargau am Jurasüdfuss. Er besuchte anschliessend Schulen in Bern und Neuchâtel. Er ist der Sohn von Schriftsteller Gerhard Meier – (» Land der Winde « – Bibliothek Suhrkamp). Pedro Meier absolvierte eine Buchhändlerlehre in der Buchhandlung Lüthy Solothurn, später war er Gründer und Besitzer eines Buchantiquariats in Zürich. Seit über 40 Jahren pendelt Pedro Meier zwischen Europa und Asien, seinem Dschungel-Atelier am Golf von Siam in Thailand. Orient und Okzident, Morgenland und Abendland, fernöstliche Kulturen, Spiritualität, Zen-Buddhismus, ein Pendler zwischen Kulturen und Zeiten; zeitlebens auf der Suche nach dem utopischen Gesamtkunstwerk. * Pedro Meier Bücher : Pedro Meier – » Parallelwelten – Wasteland Factory – Oder Der Garten der Lüste « – Gedichte und Mauerspuren – AMRAIN BOOKS Literatur Verlag * Pedro Meier – » Das Gewicht des Schattens im Sonnenschein « – Gedichte und Polaroid-Fotos – Streifzüge durch Berlin – Verlag Königshaus & Neumann, Würzburg * Pedro Meier – Museums-Ausstellungen – Kunstmuseum Olten – »Aschenbilder – Zeichnungen – Randmarken« – 1994             (Solo-Ausstellung) – Kunsthaus Grenchen – «Bilder der letzten 15 Jahre» – 1995 (Solo-Ausstellung) – Kunsthaus Zofingen – »Zwischenwelten« – 1997 – (Solo-Ausstellung) – Kunsthaus Grenchen – »Diese Kunst sammelt Grenchen« – 1998 – Kunsthaus Grenchen – »Forty examples« – 2012 – Kunstmuseum Solothurn – »Das dunkle Fest des    Lebens« – 1995             (In Zusammenhang mit Buchpräsentationen – Gerhard Meier –             »Das dunkle Fest des Lebens – Amrainer Gespräche«, Werner Morlang – Kunsthaus Langenthal – »Kunst im Oberaargau« – Jahresausstellungen 1993/1995/1998 – Aargauer Kunsthaus – Kunstmuseum –   »Aargauer-Künstler – Jahresausstellung« – 1996 * 2001 – grosser Atelierbrand – Das Feuer zerstört das gesamte bisherige bildnerisches Werk von Pedro Meier. Über 1000 Öl- und Acrylbilder, ca. 10'000 Fotos, Text und Manuskriptseiten, Notizbücher, Zeichenbücher, Künstlerbücher, Artist Books , die gesamte Bibliothek von 12'000 Büchern, Skulpturen und Installationen etc wurden vernichtet und sind für immer verloren. * » Pedro Meier Urgestein der Beat-Generation , als letzter Mohikaner, Schamane, als Buschpilot in Alaska oder Australien, als Schriftsteller, als Multimedia Artist oder als Performance-Künstler. Ob in Kyoto, Mexico, New York oder Berlin, ob in Niederbipp alias Amrain oder in seinem Dschungelatelier am Golf von Siam: Pedro Meier ist ein unermüdlich nach dem Gesamtkunstwerk Forschender... «. Zitat aus Interview: – D. T. Koller – Vitaltransformer Zürich * Pedro Meier Zitat aus Interview 2022 : – »eXperimenta«, Magazin für Literatur, Kunst und Gesellschaft –   »Als Kind war ich ein großer Tagträumer. In meiner Hofstatt steht ein uralter Kirschbaum. Als Knabe bin ich da hinaufgestiegen. Ich bin tagelang in der Kirschbaumkrone gesessen und habe dem Wind, den zwirbelnden Blättern zugeschaut. Ich habe am Himmel die treibenden Wolken verfolgt, mir vorgestellt, mit diesen Wolken, über ferner Länder, Meere und Kontinente zu treiben. Ich lebte quasi in den Bäumen. Ein Tagträumer bin ich bis heute geblieben. – Vielleicht sind die Träume der Ursprung der Kunst.« Aus Baumzweigen verfertigte ich meine ersten Skulpturen. Quasi abstrakte Hunde, Pferde, Schwalben, Flugzeuge. An dem kleinen Flüsschen, das unseren Garten durchquert, baute ich mir Flosse und kleine Segelschiffe. Mit diesen Spielzeugsegelschiffen bereiste ich die Flüsse und Meere. Ich baute auch Leuchttürme, Hafenanlagen und Eisenbahnlinien. Ich erschuf mir meine eigene Welt.   Ich war Indianer, der letzte Mohikaner und Trapper, Grosswildjäger in Afrika und Flugpionier auf Atlantikflug zugleich. Und im Winter, wenn Schnee in der Hofstatt, lag durchquerte ich zu Fuss Grönland und die Antarktis. Im Sommer verirrte ich mich in die Wüste Gobi oder in die Sahara. Fantasie und Spiel. Ich malte mir Landkarten, Seekarten und Himmelskarten mit all den Sternbildern darin. Das waren also meine ersten Skulpturen und Bilder – so kam ich zur sogenannten Kunst.   Auch erzählte ich mir neue, selbst erfundene Märchen und Geschichten. Ich erfand Alibaba und die 40 Räuber neu – ebenso Tausendundeine Nacht. Ich versetzte mich mit meinen eigenen Geschichten in Angst und Schrecken. Schlaflose Nächte. – Das waren meine ersten Texte – so kam ich zur Literatur, so kam ich zum Schreiben.   Pedro Meier, Multimedia Artist und Schriftsteller. – Ich male Bilder, konstruiere und baue Skulpturen. Rauch- und Klang-Installationen. Licht- und Sprach-Performance. Ich bin ein leidenschaftlicher Fotograf. Ich lese und schreibe Bücher – ich bin Horizontsüchtig und professioneller Tagträumer. Ich liebe den Film und die Musik etc. Ich bin gelernter Buchhändler und besass ein Buchantiquariat in Zürich. 1969 fuhr ich mit der Transsibirischen Eisenbahn nach Japan. In Bangkok blieb ich hängen und betrieb für einige Jahre ein Restaurant mit Namen »Swiss-Inn«. Ich war Verleger und Buschpilot in Alaska und Australien. – Ich bin passionierter Kunst-Nomade und lebe sozusagen zwischen den Welten.   – Übrigens: – Eigentlich hätte ich nie aus den Kirschbaumkronen heruntersteigen sollen, hätte dort oben in den Bäumen bleiben sollen, auf immer und ewig. – * Zitat aus Pedro Meier Interview : https://www.pedro-meier-artist.ch/schriftsteller/pedro-meier-experimenta-de-künstler-des-monats/ ***

Max Ernst From the collection of  Letterform Archive . To schedule a visit, please  click here.

Mer information på http://arkivkopia.se/sak/digmus-smm-Fo45851A .

Mer information på http://arkivkopia.se/sak/digmus-smm-Fo45851A .

Max Ernst: Kriegsfahnen im Mittelalter und die Reichssturmfahne von Markgröningen. In: Württembergische Vierteljahrshefte für Landesgeschichte NF 36 (1930), S. 102-132

Prehistoric Future: Max Ernst and the Return of Painting between the Wars   by Ralph Ubl and Elizabeth Tucker

Prehistoric Future: Max Ernst and the Return of Painting between the Wars   by Ralph Ubl and Elizabeth Tucker

Bibliography: p. 96-97

Zoomable full resolution image available at davidrumsey.com . This image 14256.147 is a part of image group 14256.000 . Eight black and white floor plan diagrams, as well as descriptive text for four maps of Switzerland, numbered 37 within Atlas der Schweiz, in German, French and Italian. On fourth page - back cover - of thirty-seventh (numbered) folio. Title translates to: [Rural architecture : Explanations (continued)]. Indexed to indicate different parts of construction. With bibliographic citations at bottom of sheet. "37" in upper left corner. Four related maps on second and third pages of folio. (Date taken from preceding page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

Zoomable full resolution image available at davidrumsey.com . This image 14256.147 is a part of image group 14256.000 . Eight black and white floor plan diagrams, as well as descriptive text for four maps of Switzerland, numbered 37 within Atlas der Schweiz, in German, French and Italian. On fourth page - back cover - of thirty-seventh (numbered) folio. Title translates to: [Rural architecture : Explanations (continued)]. Indexed to indicate different parts of construction. With bibliographic citations at bottom of sheet. "37" in upper left corner. Four related maps on second and third pages of folio. (Date taken from preceding page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

Max Ernst by Ian Turpin Probably the most complex artist within the Dada and Surrealist movements, Max Ernst (1891-1976) was certainly one of the most important modern European artists. He created techniques that went, in his own words, "beyond painting", reflecting his emphasis on art as a process of enquiry. His collages and canvases explored the fantastic world of the unconscious, creating a "psychological biography" that gave viewers new mental and artistic perspectives. A fascinating selection of his enigmatic and haunting images are reproduced here, analysed in detailed captions.

Max Ernst by Ian Turpin Probably the most complex artist within the Dada and Surrealist movements, Max Ernst (1891-1976) was certainly one of the most important modern European artists. He created techniques that went, in his own words, "beyond painting", reflecting his emphasis on art as a process of enquiry. His collages and canvases explored the fantastic world of the unconscious, creating a "psychological biography" that gave viewers new mental and artistic perspectives. A fascinating selection of his enigmatic and haunting images are reproduced here, analysed in detailed captions.

Max Ernst by Ian Turpin Probably the most complex artist within the Dada and Surrealist movements, Max Ernst (1891-1976) was certainly one of the most important modern European artists. He created techniques that went, in his own words, "beyond painting", reflecting his emphasis on art as a process of enquiry. His collages and canvases explored the fantastic world of the unconscious, creating a "psychological biography" that gave viewers new mental and artistic perspectives. A fascinating selection of his enigmatic and haunting images are reproduced here, analysed in detailed captions.

Max Ernst by Ian Turpin Probably the most complex artist within the Dada and Surrealist movements, Max Ernst (1891-1976) was certainly one of the most important modern European artists. He created techniques that went, in his own words, "beyond painting", reflecting his emphasis on art as a process of enquiry. His collages and canvases explored the fantastic world of the unconscious, creating a "psychological biography" that gave viewers new mental and artistic perspectives. A fascinating selection of his enigmatic and haunting images are reproduced here, analysed in detailed captions.

Film aus dem deutschen dritten Reich von 1941. Das Mädchen mit dem guten Ruf.  U.a mit Olga Tschechowa und Attila Hörbiger 

Film aus dem deutschen dritten Reich von 1941. Das Mädchen mit dem guten Ruf.  U.a mit Olga Tschechowa und Attila Hörbiger 

Film aus dem deutschen dritten Reich von 1943. Wenn die Sonne wieder scheint.  U.a mit Paul Klinger und Paul Wegener 

Film aus dem deutschen dritten Reich von 1943. Wenn die Sonne wieder scheint.  U.a mit Paul Klinger und Paul Wegener 

This volume contains the previously unpublished correspondence of the philosopher and writer Günther Anders (1902-1992) with philosophers of a related philosophical tradition. Some of the letters date from the pre-war period of the 1920s and 1930s, the majority dates from the post-war period up to the 1970s. Based on the correspondence of this volume, Anders’ intellectual and biographical development from an academic philosopher to a politically engaged thinker and activist can be traced. Moreover these letters make it clear that he was part of an intellectual network that included numerous philosophers, writers and activists of the 20th century and therefore are also a contemporary historical document which illustrates a part of German history of philosophy of the 20th century.

158 p. : 27 cm

158 p. : 27 cm

158 p. : 27 cm

1 vol. (non paginé) : 21 cm

1 vol. (non paginé) : 21 cm

1 vol. (non paginé) : 21 cm

Zoomable full resolution image available at davidrumsey.com . This image 14256.054 is a part of image group 14256.000 . Descriptive text for seven maps of Switzerland, numbered 10 within Atlas der Schweiz, in German, French and Italian. On first page - front cover - of tenth (numbered) folio. Maps follow text on second and third pages of folio. Title translates to: [Geophysics]. Titles of maps listed beneath folio title. Text begins: Karte 1 vermittelt einen Überblick über die Erdbebentätigkeit in der Schweiz bis und mit dem Jahre 1960, soweit diese durch makroseismische Beobachtungen belegt ist ... [= Map 1 gives an overview of the earthquake activity in Switzerland up to and including 1960, as far as this is proven by macroseismic observations ... ]. Text continues on back cover of folio with French and Italian translations of German on front cover. Extended statement of responsibility credits additional authors. Includes scale statements for differing scales. "10" in upper right corner. (Date taken from following page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

52

Max Ernst  (2 April 1891 – 1 April 1976) was a German (naturalised American in 1948 and  French  in 1958) painter, sculptor,  graphic artist , and poet. A prolific artist, Ernst was a primary pioneer of the  Dada  movement and  Surrealism . He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of  frottage —a technique that uses pencil rubbings of objects as a source of images— and ' grattage ', an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He is also noted for his novels consisting of  collages . Contents 1 Biography 1.1 Early life 1.2 Dada and surrealism 1.3 World War II and later life 2 Selected works 2.1 Paintings 2.1.1 Early works 2.1.2 First French period 2.1.3 American period 2.1.4 Second French period 2.2 Collages, lithographs, drawings, illustrations, etc. 2.3 Sculpture 3 Ernst in modern culture 4 Legacy 5 See also 6 Notes 7 References 8 External links Biography [ edit ] Early life [ edit ] Max Ernst was born in  Brühl , near  Cologne , the third of nine children of a middle-class  Catholic  family. His father Philipp was a teacher of the deaf and an amateur painter, a devout Christian and a strict disciplinarian. He inspired in Max a penchant for defying authority, while his interest in painting and sketching in nature influenced Max to take up painting. [1]  In 1909 Ernst enrolled in the  University of Bonn  to read philosophy, art history, literature, psychology and psychiatry. He visited  asylums  and became fascinated with the art work of the mentally ill patients; he also started painting that year, producing sketches in the garden of the Brühl castle, and portraits of his sister and himself. In 1911 Ernst befriended  August Macke  and joined his  Die Rheinischen Expressionisten  group of artists, deciding to become an artist. In 1912 he visited the Sonderbund exhibition in Cologne, where works by  Pablo Picasso  and  post-Impressionists  such as  Vincent van Gogh  and  Paul Gauguin  profoundly influenced him. His work was exhibited that year together with that of the Das Junge Rheinland group, at Galerie Feldman in Cologne, and then in several group exhibitions in 1913. [1]  In his paintings of this period, Ernst adopted an ironic style that juxtaposed grotesque elements alongside  Cubist  and  Expressionist motifs. [2] In 1914 Ernst met  Hans Arp  in Cologne. The two became friends and their relationship lasted for fifty years. After Ernst completed his studies in the summer, his life was interrupted by  World War I . Ernst was drafted and served both on the  Western Front  and the  Eastern Fronts . The effect of the war on Ernst was devastating; in his autobiography, he wrote of his time in the army thus: "On the first of August 1914 M[ax].E[rnst]. died. He was resurrected on the eleventh of November 1918". [3]  For a brief period on the Western Front, Ernst was assigned to chart maps, which allowed him to continue painting. [1]  Several  German Expressionist  painters died in action during the war, among them  August Macke  and  Franz Marc . Dada and surrealism [ edit ] Max Ernst,  Ubu Imperator , 1923,  Musee National d'Art Moderne ,  Centre Pompidou , Paris In 1918, Ernst was demobilised and returned to Cologne. He soon married art history student  Luise Straus , whom he had met in 1914. In 1919, Ernst visited  Paul Klee  in Munich and studied paintings by  Giorgio de Chirico . The same year, inspired by de Chirico and mail-order catalogues, teaching-aide manuals and similar sources, he produced his first  collages  (notably  Fiat modes , a portfolio of  lithographs ), a technique which would dominate his artistic pursuits. Also in 1919 Ernst, social activist  Johannes Theodor Baargeld  and several colleagues founded the Cologne  Dada  group. In 1919–20 Ernst and Baargeld published various short-lived magazines such as  Der Strom ,  die Schammade  and organised Dada exhibitions. [1] Ernst and Luise's son  Ulrich 'Jimmy' Ernst  was born on 24 June 1920; he also became a painter. [1]  Ernst's marriage to Luise was short-lived. In 1921 he met  Paul Éluard , who became a lifelong friend. Éluard bought two of Ernst's paintings ( Celebes  and  Oedipus Rex ) and selected six collages to illustrate his poetry collection  Répétitions . A year later the two collaborated on  Les malheurs des immortels  and then with  André Breton , whom Ernst met in 1921, on the magazine  Littérature . In 1922, unable to secure the necessary papers, Ernst entered France illegally and settled into a  ménage à trois  with Éluard and his wife  Gala  in Paris suburb Saint-Brice, leaving behind his wife and son. [1] During his first two years in Paris, Ernst took various odd jobs to make a living and continued to paint. In 1923 the Éluards moved to a new home in  Eaubonne , near Paris, where Ernst painted numerous  murals . The same year his works were exhibited at  Salon des Indépendants . [1] "Les Fusains": 22, rue Tourlaque,  18th arrondissement of Paris  where Max Ernst established a studio in 1925 Although apparently accepting the ménage à trois, Éluard eventually became more concerned about the affair. In 1924 he abruptly left, first for  Monaco  and then for  Saigon . [4]  He soon asked his wife and Max Ernst to join him; both had to sell paintings to finance the trip. Ernst went to Düsseldorf and sold a large number of his works to a long-time friend,  Johanna Ey , owner of gallery  Das Junge Rheinland . [1]  After a brief time together in Saigon, the trio decided that Gala would remain with Paul. The Éluards returned to Eaubonne in early September, while Ernst followed them some months later, after exploring more of South-East Asia. He returned to Paris in late 1924 and soon signed a contract with Jacques Viot that allowed him to paint full-time. In 1925 Ernst established a studio at 22, rue Tourlaque. [1] In 1925, Ernst invented a graphic art technique called  frottage  (see  Surrealist techniques ), which uses pencil rubbings of objects as a source of images. [5]  He also created the ' grattage ' technique, in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He used this technique in his famous painting  Forest and Dove  (as shown at the Tate Modern). The next year he collaborated with  Joan Miró  on designs for  Sergei Diaghilev . With Miró's help, Ernst developed grattage, in which he trowelled pigment from his canvases. He also explored with the technique of  decalcomania , which involves pressing paint between two surfaces. [6] Ernst developed a fascination with birds that was prevalent in his work. His alter ego in paintings, which he called  Loplop , was a bird. He suggested that this alter-ego was an extension of himself stemming from an early confusion of birds and humans. [7]  He said that one night when he was young, he woke up and found that his beloved bird had died; a few minutes later, his father announced that his sister was born. Loplop often appeared in collages of other artists' work, such as  Loplop presents André Breton . Ernst drew a great deal of controversy with his 1926 painting  The Virgin Chastises the infant Jesus before Three Witnesses: André Breton, Paul Éluard, and the Painter . [8]  In 1927, Ernst married  Marie-Berthe Aurenche  [ de ]  and it is thought his relationship with her may have inspired the erotic subject matter of  The Kiss  and other works of that year. [9]  Ernst appeared in the 1930 film  L'Âge d'Or , directed by the  Surrealist   Luis Buñuel . Ernst began to sculpt in 1934 and spent time with  Alberto Giacometti . In 1938, the American heiress and artistic  patron   Peggy Guggenheim  acquired a number of Max Ernst's works, which she displayed in her new gallery in London. Ernst and Peggy Guggenheim were married from 1942 to 1946. World War II and later life [ edit ] L'Ange du Foyer , 1937 In September 1939, the outbreak of  World War II  caused Ernst to be interned as an "undesirable foreigner" in  Camp des Milles , near  Aix-en-Provence , along with fellow surrealist,  Hans Bellmer , who had recently emigrated to Paris. He had been living with his lover and fellow surrealist painter,  Leonora Carrington  who, not knowing whether he would return, saw no option but to sell their house to repay their debts and leave for Spain. Thanks to the intercession of  Paul Éluard  and other friends, including the journalist  Varian Fry , he was released a few weeks later. Soon after the  German occupation of France , he was arrested again, this time by the  Gestapo  but managed to escape and flee to America with the help of  Peggy Guggenheim  and Fry. [10]  Ernst and Peggy Guggenheim arrived in the United States in 1941 and were married at the end of the year. [11]  Along with other artists and friends ( Marcel Duchamp  and  Marc Chagall ) who had fled from the war and lived in New York City, Ernst helped inspire the development of  Abstract expressionism . His marriage to Guggenheim did not last and in  Beverly Hills, California  in October 1946, in a double ceremony with  Man Ray  and Juliet P. Browner, he married  Dorothea Tanning . [12]  The couple made their home in  Sedona, Arizona from 1946 to 1953, where the high desert landscapes inspired them and recalled Ernst's earlier imagery. [13]  Despite the fact that Sedona was remote and populated by fewer than 400 ranchers, orchard workers, merchants and small Native American communities, their presence helped begin what would become an American  artists colony . Among the monumental red rocks, Ernst built a small cottage by hand on Brewer Road and he and Tanning hosted intellectuals and European artists such as  Henri Cartier-Bresson  and  Yves Tanguy . Sedona proved an inspiration for the artists and for Ernst, who compiled his book  Beyond Painting  and completed his sculptural masterpiece  Capricorn  while living there. As a result of the book and its publicity, Ernst began to achieve financial success. From the 1950s he lived mainly in France. In 1954 he was awarded the Grand Prize for painting at the  Venice Biennale . [14]  He died at the age of 84 on 1 April 1976 in Paris and was interred at  Père Lachaise Cemetery . [10] Selected works [ edit ] Paintings [ edit ] Early works [ edit ] Aquis Submersus  (1919) Trophy, Hypertrophied  (1919) Little Machine Constructed by Minimax Dadamax in Person  (1919–1920) Murdering Airplane  (1920) The Hat Makes the Man  (1920) Celebes  (1921) Oedipus Rex  (1922) First French period [ edit ] Pietà or Revolution by Night  (1923) Saint Cecilia  (1923) The Wavering Woman  (1923) Ubu Imperator  (1923) Of This Men Shall Know Nothing  (1923) Two Children Are Threatened by a Nightingale  (1924) Woman, Old Man and Flower  (1924) Paris Dream  (1924–25) The Blessed Virgin Chastises the Infant Jesus Before Three Witnesses: A.B., P.E. and the Artist  (1926) Forest  series, e.g.  Forest and Dove  (1927),  The Wood  (1927) Rendezvous of Friends – The Friends Become Flowers  (1928) Loplop  series, e.g.  Loplop Introduces Loplop  (1930),  Loplop Introduces a Young Girl  (1930) City  series, e.g.  Petrified City  (1933),  Entire City  (1935–36, two versions) Garden Aeroplane Trap  series (1935–36) The Joy of Living  (1936) The Nymph Echo  (1936) The Fireside Angel  (1937) The Fascinating Cypress  (1940) The Robing of the Bride  (1940) American period [ edit ] Totem and Taboo  (1941) Marlene  (1941) Napoleon in the Wilderness  (1941) Day and Night  (1941–42) The Antipope  (1942) Europe After the Rain II  (1940–42) Surrealism and Painting  (1942) Vox Angelica  (1943) Everyone Here Speaks Latin  (1943) Painting for Young People  (1943) The Eye of Silence  (1944) Dream and Revolution  (1945) The Temptation of Saint Anthony  (1945) The Phases of the Night  (1946) Design in Nature  (1947) Inspired Hill  (1950) Colorado of Medusa, Color-Raft of Medusa  (1953) Second French period [ edit ] Mundus est fabula  (1959) The Garden of France  (1962) The Sky Marries the Earth  (1964) The World of the Naive  (1965) Ubu, Father and Son  (1966) Birth of a Galaxy  (1969) "La dernière forêt" (The last forest) (1960–1970) Collages, lithographs, drawings, illustrations, etc. [ edit ] Frontispiece for  Répétitions  by  Paul Éluard , 1922 Fiat modes  (1919, portfolio of lithographs) Illustrations for books by  Paul Éluard :  Répétitions  (1922),  Les malheurs des immortels  (1922),  Au défaut du silence  (1925) Histoire Naturelle  (1926, frottage drawings) La femme 100 têtes  (1929, graphic novel) Rêve d'une petite fille qui voulut entrer au carmel  (1930, graphic novel) Une Semaine de Bonté  (1934, graphic novel) Paramythes  (1949, collages with poems) Illustrations for editions of works by  Lewis Carroll :  Symbolic Logic  (1966, under the title  Logique sans peine ),  The Hunting of the Snark  (1968), and  Lewis Carrols Wunderhorn  (1970, an anthology of texts) Deux Oiseaux  (1970, lithograph in colours) Aux petits agneaux  (1971, lithographs) Paysage marin avec capucin  (1972, illustrated book with essays by various authors) Maximiliana: the illegal practice of astronomy : hommage à Dorothea Tanning  (1974, art book) Oiseaux en peril  (1975, etchings with aquatint in colours; published posthumously) Sculpture [ edit ] Bird  (c. 1924) Oedipus  (1934, two versions) Moonmad  (1944) An Anxious Friend  (1944) Capricorn  (1948) The King Playing with the Queen  (1954) Two and Two Make One  (1956) Immortel  (1966–67) Ernst in modern culture [ edit ] Many of Ernst's works from  Une Semaine de Bonté  are used in albums by American rock group  The Mars Volta . Also,  Barefoot in the Head , a collaboration between guitarist  Thurston Moore  and saxophonists  Jim Sauter  and  Don Dietrich  of  Borbetomagus , features a collage from this same book. American rock group  Mission of Burma  titled two songs after the artist: "Max Ernst" was the b-side of their first 1980 single (now included on the CD of  Signals, Calls and Marches ), mentioning two of Ernst's paintings ( The Blessed Virgin Chastises the Infant Jesus  and  Garden Airplane-Trap ) and ending with the words "Dada dada dada ..." repeated many times and distorted via  tape loop ; their 2002 album  OnOffOn  features "Max Ernst's Dream". Writer  J. G. Ballard  makes numerous references to the art works of Max Ernst in his breakthrough novel  The Drowned World  (1962) and the experimental collection of short stories  The Atrocity Exhibition  (1970). Europe After the Rain  was used by musician  John Foxx  as the title for the opening track of his 1981 album  The Garden . Max Ernst himself, and some of his work, is mentioned in  William Gibson 's novel  Count Zero  (1986), the second novel of the  Sprawl trilogy , an influential set of books which established the  cyberpunk  subgenre of science-fiction (The) Eye of Silence  was used by musician Cavestar (Kevin Crosslin) as the title of a track from his 1997 album  Cavestar . The first edition of the Penguin paperback edition of  James Blish 's  A Case of Conscience  uses details from  The Eye of Silence  as cover art. Ernst's alter-ego  Loplop  appears in  China Miéville 's 1998 debut novel  King Rat . German experimental electronic musician  Thomas Brinkmann  has made numerous references to Max Ernst and  Loplop  in his productions and record labels. Legacy [ edit ] Max Ernst's life and career are examined in  Peter Schamoni 's 1991 documentary  Max Ernst . Dedicated to the art historian  Werner Spies , it was assembled from interviews with Ernst, stills of his paintings and sculptures, and the memoirs of his wife Dorothea Tanning and son Jimmy. The 101-minute German film was released on DVD with English subtitles by Image Entertainment. In 2005, "Max Ernst: A Retrospective" opened at the  Metropolitan Museum of Art  and included works such as  Celebes  (1921),  Ubu Imperator  (1923), and  Fireside Angel  (1937), which is one of the few definitively political pieces and is sub-titled  The Triumph of Surrealism depicting a raging bird-like creature that symbolises the wave of fascism that enveloped Europe. The exhibition also includes Ernst's works that experiment with free association writing and the techniques of  frottage , created from a rubbing from a textured surface;  grattage , involving scratching at the surface of a painting; and  decalcomania , which involves altering a wet painting by pressing a second surface against it and taking it away. [15] Ernst's son  Jimmy , a well-known German/American  abstract expressionist  painter, who lived on the south shore of  Long Island , died in 1984. His memoirs,  A Not-So-Still Life , were published shortly before his death. Max Ernst's grandson Eric and his granddaughter Amy are both artists and writers.

Billedværk

Max Ernst.